There’s co-operation and confrontation, unity and conflict, subtle transitions and headlong interventions. The music just flows from one state to another with a mixture of energy and grace.

‘Kairos’, one of the most effective tracks, begins tentatively, but builds to a gripping rolling climax. ‘Life Line’ offers bluesy probings against a walking bass, evolving into spiky turbulence and then a forbidding vamp. In the final track, ‘Meshwork/Libation/When Kabuya Dances’, intense exchanges push the two-piano format to its limits in a beautifully paced, eventful exhibition of free improvisation as compositional method.

With the talent of each artist well established, the question is whether they are able to successfully combine their resources. The music mostly says yes. The fluidity of the phrasing, the unbroken momentum, the kind of rhythmic ‘streaming’ that has significant precedents... the many moments of beauty are quite captivating.

A great deal of the pleasure of this set comes from the development of often abstract melodic ideas, and how both players support each other as the motifs develop. Although there is plenty of fire on the record, the textures rarely get overly dense and we don’t lose sight of the path. Indeed, the most immediately striking aspect on first listen is just how composed much of it sounds, and I mean this in the best sense.